GIALLI SAMPLER, PART FIVE (VOLUME 1): "AMERICAN GIALLI - 1970 to 1989"

In Part Four of our sampler, "WTF? GIALLI", the last entry was Dario Argento's TRAUMA, the Italian Hitchcock's very ill-advised attempt to create an Italian Giallo in the Heartland of America, AKA Minneapolis, Minnesota. TRAUMA would have been a much stronger and more interesting film had he shot in Bella Italia with an Italian cast. However, in a very misguided effort to win over American audiences, he forged ahead with his cockamamie plan - and TRAUMA ended up being one of his weakest films because of its American setting and mostly-Yankee cast. The reason TRAUMA failed artistically and commercially was because it was an Italian Giallo with an Italian director who forced the whole story into an American setting that it didn't belong in. Despite being set in Minneapolis, TRAUMA was most definitely an Italian film to the core - not an American one.

What are American Gialli, then? These are the North American (including Canadian) thrillers or horror films that were strongly influenced by the earlier Italian movies of Dario Argento, Mario Bava, Luigi Bazzoni, Lucio Fulci, Sergio Martino, Umberto Lenzi, and other Italian Giallo directors. Like their Italian cinematic cousins who inspired them, American Gialli are stylish, colorful, and setpiece-driven, filled with red herrings, twists, and surprise endings. The only thing that is significantly different is that the protagonists of American Gialli are usually American men or women on their own home turf - instead of foreigners in Italy. American Gialli also sometimes play with the Giallo formula and take their stories into new directions. Bottom line: the Modern American Thriller and Horror Film owe a debt of gratitude to Italian Gialli.

There are a total of 30 entries in our AMERICAN GIALLI section. Given this large number, we are splitting the AMERICAN GIALLI section into 2 volumes. Volume 1 covers 1970-1989, and Volume 2 covers 1990 - 2013.

Please find below Volume 1 of our AMERICAN GIALLI section. As with the entries from the other sections, the films are listed chronologically.


# 1. KLUTE (1971)



POSTER TAGLINE: Lots of guys want to swing with a girl like Bree. One guy just wants to kill her....

CAST: Jane Fonda, Donald Sutherland, Charles Cioffi, Roy Scheider, Dorothy Tristan, Rita Gam.

DIRECTOR: Alan J. Pakula

IT'S LIKE THIS: Sexy call girl Bree Daniels (Jane Fonda) finds herself pursued by two men: (1) John Klute (Donald Sutherland), a cop/private dick who is convinced Bree knows something about his friend's disappearance; and (2) Mr. Psycho Killer (??????), some nutjob who is obsessed with Bree - and will kill any guy who fucks her. Soon, John finds himself stepping into the role of protector of Bree, as Mr. Psycho Killer draws nearer and nearer. Who could this killer be? Ahem? Good luck with that one, Klute.

THE GIALLO CONNECTION: This early American Giallo came out when Italian Gialli themselves were still going strong worldwide. KLUTE was released about a year and a half after THE BIRD WITH THE CRYSTAL PLUMAGE - and there are very strong echoes of that film here. From the breathy female vocals of Michael Small's score (reminding us of Ennio Morricone's music for BIRD) that is sensual and creepy at the same time, to the quirky opening credits that play over a sexy conversation Bree has with a client, to the scary final confrontation with the killer, this movie has the Giallo Aura all around it.

TRIVIA: Barbara Streisand turned down the role of Bree Daniels. And Jane Fonda prepared for her role as a high-class prostitute by hanging out with real "working girls" and their pimps.


# 2. HOME FOR THE HOLIDAYS (1972)



POSTER TAGLINE: There's nothing more chilling than a warm family reunion...

CAST: Eleanor Parker, Sally Field, Jessica Walter, Jill Haworth, Julie Harris, Walter Brennan.

DIRECTOR: John Llewellyn Moxey

IT'S LIKE THIS: The Morgan family is having a Christmas Reunion at their isolated California ranch - and the Morgan girls are all coming home for it. The family is comprised of: (1) Ben (Walter Brennan), dying-pain-in-the-ass father; (2) Alex (Eleanor Parker), mother-hen daughter who takes care of everyone, (3) Freddie (Jessica Walter), drinks-like-a-fish daughter who, uh, drinks everyone under the table; (4) Joanna (Jill Haworth), ice-princess daughter who looks down on everyone; (5) Chris (Sally Field), lovey-dovey youngest daughter who is probably our best bet for the "Sole Survivor" award; and (6) Elizabeth (Julie Harris), mysterious second wife of Ben - who just might hate them all. When a killer in a hooded yellow slicker and a sharp pitchfork crashes the reunion and starts offing them one by one, it becomes clear that "Christmas In The Big City With Your City Slicker Pals" was probably the option the girls should have chosen. Too late now, bitches...

THE GIALLO CONNECTION: Mario Bava's TWITCH OF THE DEATH NERVE (1971) is often cited as major influence on FRIDAY THE 13th. But way before FRIDAY THE 13TH came out in 1980, this solid 1972 made-for-TV thriller took DEATH NERVE's template of a clan getting killed off one-by-one in an isolated location and transplanted it to an American setting. HOME FOR THE HOLIDAYS is thankfully not bloody, at all, and focuses instead on atmosphere and character. The truth is, I prefer it over FRIDAY THE 13TH for that reason.

TRIVIA: Interestingly enough, Sally Field, who plays Christine Morgan here, was reportedly considered for the lead role of Alice in FRIDAY THE 13th eight years later. Adrienne King got the part, instead.


#3. THE EYES OF LAURA MARS (1978)



POSTER TAGLINE: No tagline - just a close-up of Faye Dunaway's face (as Laura Mars) with the whites of her eyes glowing eerily. That's all ya need to sell the movie.

CAST: Faye Dunaway, Tommy Lee Jones, Renee Auberjonois, Raul Julia, Darlanne Fluegel, Lisa Taylor.

DIRECTOR: Irvin Kershner

IT'S LIKE THIS: Glamorous, talented NYC fashion photographer Laura Mars (Faye Dunaway) is the toast of the Big Apple. Her photos of models in various stages of dress and undress are selling products like hotcakes - not to mention selling like hotcakes themselves. Unfortunately, Laura's success is suddenly marred by terrifying visions of her friends, colleagues, and associates being murdered by an icepick-wielding killer. The trouble is Laura gets these visions just as they are happening. In other words, she sees through the eyes of the killer just as he (she?) is committing the crimes. Enter smoking-hot NYPD detective John Neville (Tommy Lee Jones), who's more than happy to help Laura solve the mystery. Good luck with that one, kids.

THE GIALLO CONNECTION: In our SUPERNATURAL GIALLI section, we discussed and reviewed SETTE NOTTE IN NERO (1977), which revolved around a woman with psychic abilities whose special gifts cause her to "witness" ghastly events which, in turn, place her in grave danger. The same premise holds THE EYES OF LAURA MARS together - and it came out about a year-and-a-half or so after SETTE NOTE IN NERO (known as THE PSYCHIC in North America). Both films also feature endings wherein (MASSIVE SPOILER ALERT) our heroines discover that the killer is much closer to them than they realized. And, just as THE PSYCHIC influenced THE EYES OF LAURA MARS, this movie in turn influenced SOTTO IL VESTITO NIENTE seven years later in 1985 (with its "psychic connection" plot thread). Essentially, an Italian Giallo influenced an American Giallo - which then influenced another Italian Giallo. THE EYES OF LAURA MARS also influenced another American Giallo on this list: JACK'S BACK (1988)

TRIVIA: John Carpenter co-wrote the screenplay for THE EYES OF LAURA MARS. The same year as this movie came out, Carpenter's HALLOWEEN (which he directed) was released - and became a phenomenal success. HALLOWEEN is widely recognized as having been influenced by Dario Argento's PROFONDO ROSS (1975) - known in North America as DEEP RED.


# 4. HALLOWEEN (1978)



POSTER TAGLINE: The night HE came home...

CAST: Donald Pleasence, Jamie Lee Curtis, P.J. Soles, Nancy Loomis, Charles Cyphers, Kyle Richards, Brian Andrews.

DIRECTOR: John Carpenter

IT'S LIKE THIS: The small Illinois town of Haddonfield is about to get a very nasty Halloween surprise this year: a nutjob named Michael Myers has broken out of a sanitarium nearby and is headed home for some serious mischief. You see, Mikey is a Haddonfield native but has been incarcerated for the last 15 years ever since he killed his own sister on Halloween night. Now that he's back in town, teenage babysitters Laurie, Linda, and Annie (Jamie Lee Curtis, P.J. Soles, Nancy Loomis) find themselves in his crosshairs. Get ready for a wild night, ladies. Let's just say if there was ever a cautionary film about babysitting, it would be this movie.

THE GIALLO CONNECTION: This movie is a classic that spawned the American Slasher sub-genre. It is widely-known that John Carpenter was inspired by DEEP RED's style and music - and it shows here. HALLOWEEN's cinematography is bathed in the same deep blacks and vibrant reds as that Italian classic. The musical theme is also as distinctive and recognizable as DEEP RED's - and is classic Thriller Music. HALLOWEEN is an important film for both the Italian Giallo sub-genre and the American Slasher sub-genre because it bridges the two. This movie also inspired the wave of American horror films that would eventually be revived by SCREAM - but it itself was inspired by Italian Gialli.

TRIVIA: Until THE BLAIR WITCH PROJECT came out in 1999 and took the title, this movie was considered the most successful independent film of all time.


# 5. DRESSED TO KILL (1980)



POSTER TAGLINE: The latest fashion in murder...

CAST: Michael Caine, Angie Dickinson, Nancy Allen, Dennis Franz, Keith Gordon.

DIRECTOR: Brian De Palma

IT'S LIKE THIS: NYC psychiatrist Robert Elliott (Michael Caine) has a serious dilemma: one of his patients, Kate Miller (Angie Dickinson) has been brutally murdered - and he suspects that one of his other patients is the killer. But who could it be? It's up to high-class call girl Liz Blake (Nancy Allen) to find out. You see, Liz witnessed Kate's murder after leaving an, um, assignment (don't ask) - and she glimpsed a tall blonde woman in a black trenchcoat at the murder scene, carrying a straight razor. And if Liz doesn't track her down first, she's the next victim. Will Dr. Elliott be able to help. Or is Liz pretty much on her own? And who is that tall blonde lady with the razor? Ah, New York life... so bat-shit crazy.

THE GIALLO CONNECTION: A straight razor, a very common weapon in Italian Gialli, is the killer's weapon-of-choice in DRESSED TO KILL. Director Brian De Palma creates setpieces that are grand, operatic, and colorful - very much like the sequences in Italian Gialli. Ironically, many pundits refer to DRESSED TO KILL as "Hitchcockian" - but Hitchcock was never this colorful or over-the-top. Dario Argento, on the other hand, frequently was - and DRESSED TO KILL is closer in spirit to his films than Hitchcock's. Also, Kate Miller's elevator murder scene echoes the one from the 1971 Italian Giallo, THE CASE OF THE BLOODY IRIS (featured in our "WTF? GIALLI section).

TRIVIA: Sean Connery was offered the lead role of Dr. Robert Eliott, but had to decline due to scheduling reasons.


#6. FRIDAY THE 13TH (1980)



POSTER TAGLINE: They were warned. They are doomed. And on Friday The 13th, nothing will save them.

CAST: Adrienne King, Betsy Palmer, Harry Crosby, Kevin Bacon, Peter Brouwer, Jeannine Taylor, Robbie Morgan.

DIRECTOR: Sean Cunningham

IT'S LIKE THIS: Camp Crystal Lake in rural New Jersey has been known as Camp Blood for years because of several murders that took place there a long time ago. Since then, the camp has been abandoned and shuttered. Then a local entrepreneur (and utter moron, obviously) named Steve Christie (Peter Brouwer) buys the place and decides to reopen it, as if nothing had happened. Despite the warnings of locals who say that the place is cursed - and bad things will happen once more if anyone sets foot there. Like I said: utter moron. Anyhow, it soon becomes apparent that the townspeople aren't as dumb as they look, because on a certain Friday The 13th, Steve's crew of workers gets decimated one-by-one by a shadowy killer. Who will live to tell the tale? Hopefully not that idiot Steve. Good going, Stevo. Imbecile.

THE GIALLO CONNECTION: As mentioned before, FRIDAY THE 13TH is believed by many to have been influenced by Mario Bava's TWITCH OF THE DEATH NERVE (1971). Both films feature lakeside, woodland settings where a group of people are picked off-by-one by an unseen killer (or killers). Both films are high on gore and blood, but very short on characterization. However, they are both entertaining and scary in the moment, if nothing more.

TRIVIA: The final "jump scare" of Jason leaping out of the lake to grab sole survivor Alice (Adrienne King), which turns out to be just a nightmare she has in the hospital after being rescued, was not in the script. However, director Sean Cunningham felt that the movie needed to get the audience with one last shock before the end credits rolled - and improvised it. Good call - it's the best part of the movie.


#7. NIGHT SCHOOL (1981)



POSTER TAGLINE: A lesson in terror.

CAST: Leonard Mann, Rachel Ward, Drew Snyder, Joseph R. Sicari, Annette Miller, Karen MacDonald, Elizabeth Barnitz.

DIRECTOR: Ken Hughes

IT'S LIKE THIS: Wendell College For Women in Boston, MA must be a very tough school, judging by how often its students lose their heads. And I don't mean over studying for exams. I mean, literally. As in, decapitated. As in, beheaded. As in, headless. You see, it appears that three women who attend night classes at Wendell have been killed recently, in the manner described before. And it turns out that both of them were students of horndog anthropology professor Vincent Millett (Drew Snyder). BPD detective Judd Austin (Leonard Mann) takes on the case and questions Professor Millett, who claims he is innocent. But is he really? And what happens when another woman gets killed? Who will be next? Professor Millett's loyal assistant Eleanor Adjai (Rachel Ward)? Will she pay the price for fucking her teacher? Or does she have her own agenda? Hmmmmmm....

THE GIALLO CONNECTION: The massive success of HALLOWEEN in 1978 kick-started the first wave of American Slasher movies (the second wave was after SCREAM's success in 1996), and of all the films that came out during that period, NIGHT SCHOOL (and a couple of others) is the one that is most Giallo-like. This movie has a very European feel and look. Like many Italian Gialli, it features older, upwardly-mobile characters who are on career tracks, and not your typical brainless teens. These folks are fairly sophisticated and have lives that feel lived in. The suspense setpieces are also very elaborate and operatic in execution - another Giallo trademark. Finally, there is the "look" of the killer himself (herself?): riding a motor-bike in a black leather outfit and helmet. This was the same look as the baddie in the 1974 Italian Giallo, LA POLIZIA CHIEDE AIUTO.

TRIVIA: This movie was model-turned-actress Rachel Ward's film debut. Ward was one of the dark-haired/dark-eyed models (along with Janice Dickinson, Gia Carangi, Iman, and others) who helped break the "WASP/Blonde Ceiling" that existed in the late-1970s NYC modeling world - paving the way for exotic brunette stunners like Cindy Crawford, Linda Evangelista, Yasmeen Ghauri, and Christy Turlington. Ward would go on to wider cinematic success in THE THORN BIRDS and AGAINST ALL ODDS.


#8. LOOKER (1981)



POSTER TAGLINE: If looks could kill...

CAST: Albert Finney, James Coburn, Susan Dey, Leigh Taylor-Young, Dorian Harewood, Tim Rossovich. Terri Welles, Kathryn Witt, Catherine Parks.

IT'S LIKE THIS: Poor Beverly Hills plastic surgeon Larry Roberts (Albert Finney): he's having a supremely weird week. He's just found out that three of his patients have killed themselves. The women have two things in common: (1) they were all beautiful model/actresses; and (2) they all recently had microscopic plastic surgery (down to the millimeter). Even worse, the Beverly Hill PD now suspect that Larry might have been, um, schtupping his patients and had something to do with their deaths. Now, he must work with Cindy (Susan Dey), another patient who may be next on the killer's list, and find out why the women all had unnecessary microscopic surgery that would have been invisible to the naked eye. They follow a trail of clue to Digital Matrix, Inc., a company that does extensive media research. What role does DGI have in the deaths - and will Larry and Cindy be next?

THE GIALLO CONNECTION: This movie was very forward-thinking and prescient, intuiting the CGI technology that would soon be a daily part of Hollywood and the media world. In a lot of ways, LOOKER was ahead of its time. It also has some strong Giallo elements: the mysterious, black-gloved killer; the protagonist forced to investigate on his own due to uncooperative or unfriendly police figures; and the colorfully elaborate suspense setpieces. The killer also wears big reflective sunglasses like the baddie in the 1972 Giallo, LA MORTE ACCAREZZA A MEZZANOTE.


#9. CURTAINS (1983)



POSTER TAGLINE: Behind every curtain, someone is waiting, something is watching.

CAST: John Vernon, Samantha Eggar, Linda Thorson, Anne Ditchburn, Sandra Warren, Lesleh Donaldson, Lynne Griffin.

DIRECTOR: Richard Ciupka

IT'S LIKE THIS: If this movie is any indication, then being a working actress is even more competitive and cutthroat than we realized. Six actresses (well, there were seven who were invited, technically, but the killer gets to # 7 before she even gets a chance to pack or leave the city) gather at esteemed film director Jonathan Stryker's (John Vernon) isolated country estate for the weekend to audition for a coveted lead role in a film he plans to make. Unfortunately, one of the actresses wants the part so bad she is willing to kill for it. But which one? Pretty soon, before you can say "Ladies, is this any way to behave?" the women are being knocked off one-by-bloody-one by a mysterious killer in a hag-mask. Who is behind that mask? Who will survive? Or does it matter anyway when you consider that these dumb bitches pretty much signed their death warrants by agreeing to hole up in the middle of nowhere with a director who looks that sketchy? Whatever. Good luck, ladies...

THE GIALLO CONNECTION: In our WTF? GIALLI section, we discussed the Italian Giallo THE RED QUEEN KILLS SEVEN TIMES from 1972. That film has direct parallels with CURTAINS, from the similar "looks" of its villains, to the storylines filled with backstabbing and duplicitous females, and suspense setpieces that mirror one another. Along with NIGHT SCHOOL (1981), CURTAINS feels more like a Giallo than it does a slasher movie, filled with sophisticated characters who are more mature than the usual teens and students found in thrillers of that time. The atmosphere is also very sensual and seductive - very much in keeping with the European origins of the Giallo sub-genre.

TRIVIA: CURTAINS had a very troubled production. It was actually filmed and completed in 1980, but was not released until 1983. Also, French-Canadian actress Celine Lomez was originally cast in the role of Brooke Parsons (Linda Thorson), and even shot some scenes, but had to step down from the role for undisclosed reasons. Thorson replaced her soon after.


# 10. A NIGHTMARE ON ELM STREET (1984)



POSTER TAGLINE: If Nancy doesn’t wake up screaming, she won’t wake up at all.

CAST: Heather Langenkamp, Robert Englund, Johnny Depp, John Saxon, Amanda Wyss, Ronee Blakely.

DIRECTOR: Wes Craven

IT'S LIKE THIS: If there was ever an argument for No-Doz pills and round-the-clock espresso shots, it's this movie. A group of teenagers realize they have been having the same nightmare about some freakazoid named Freddy Krueger (Robert Englund) with really bad skin, wearing a red-and-green sweater and Fedora hat (bad fashion combo, but whatever), and sporting some contraption that looks like a glove but with knife blades for fingers. Yes, folks, he's not exactly Mr. Sandman. Things get even worse when the teens start getting offed one-by-one in their sleep. Pretty soon, it's up to surviving gal Nancy Thompson (Heather Langenkamp) to stay up late at night long enough to figure out who their ugly tormentor is, and what she can do to stop him. After another five shots of espresso first, that is...

THE GIALLO CONNECTION: This movie's setpieces (usually dreams and nocturnal wanderings set in some very surreal environments) echo the dreamy, other-worldly vibes of Dario Argento's Supernatural Gialli like SUSPIRIA (1977) and INFERNO (1980). Also, Freddy Krueger's custom-made weapon is very similar to the killer's "iron-glove-with-spikes" from LA MORTE ACCAREZZA A MEZZANOTE (1972). Finally, there's the sequence where Nancy sets elaborate booby-traps in her house to trap Freddy. This echoes a very similar scene from LA RAGAZZA CHE SAPEVA TROPPO from 1963, wherein the heroine does the same exact thing to nab the killer stalking her. And, of course, the trademark headwear of the Classic Giallo Villain that Freddy also wears: the Fedora Hat.

TRIVIA: John Saxon, who played the male lead in LA RAGAZZA CHE SAPEVA TROPPO, plays Nancy's policeman father here.


#11. BLACK WIDOW (1987)



POSTER TAGLINE: She mates and she kills...

CAST: Debra Winger, Theresa Russell, Sami Frey, Dennis Hopper, Terry O'Quinn, Rutanya Alda, Diane Ladd.

DIRECTOR: Bob Rafelson

IT'S LIKE THIS: Rinny Walker (Theresa Russell) has been a very, very, very busy girl lately. She has married three different men within the last five years - and murdered each one of them for their money. In New York, she was sophisticated Catherine, and hooked up with a publishing tycoon. In Houston, she was sassy Marielle, and ensnared a toy manufacturer millionaire. And in Seattle, she was cerebral Margaret, and hooked a brainy heir. And she killed all of 'em, folks. Now, she has morphed again into someone new and has moved to Hawaii as Rinny. Now, she has her sights on Paul (Sami Frey), a local millionaire who looks ripe for the poisoning, er, picking. But, wait... here comes brilliant Department of Justice bloodhound Alex Barnes (Debra Winger), who apparently has seen and read one too many suspense-thrillers (ahem). She has pieced together Rinny's schtick - and is going to bring her down. But, wait... Alex finds herself entranced and fascinated by Rinny, just like the stupid men Rinny killed. Is Alex falling under Rinny/Catherine/Margaret/Marielle's spell, too? Or will Alex snap out of it and finally arrest her? Hmmmmmm.....

THE GIALLO CONNECTION: The killers in Dario Argento's Gialli often turn out to be female, and our killer in BLACK WIDOW is one of two wily females. The difference here is that we know from the beginning who the killer is. The mystery of BLACK WIDOW doesn't revolve around whether Rinny is guilty or not - we know that definitively from the outset. The real question is how Alex will bring her down for what she has done - and also, whether Alex ultimately even wants to. Aside from the gender of the killer, BLACK WIDOW's connection to Italian Gialli is the very seductive atmosphere director Bob Rafelson brings to the story. It's a very European feel that is langurous and hypnotic. The movie is also filled with color and texture, echoing the lush set designs of many of Argento and Bava's Gialli.

TRIVIA: Theresa Russell dubbed the American voice of Daria Nicolodi's character, Ann, from TENEBRE (1982) - an Argento Giallo - for that movie's British and North American release.


#12. THE BEDROOM WINDOW (1987)



POSTER TAGLINE: A violent crime. A secret affair. A single witness.

CAST: Steve Guttenberg, Elizabeth McGovern, Isabelle Huppert, Carl Lumbly, Frederick Coffin, Paul Shenar, Wallace Shawn.

DIRECTOR: Curtis Hanson

IT'S LIKE THIS: Terry Lambert (Steve Guttenberg), is one of those guys who is both utterly brilliant and also thoroughly stupid at the same time. On one hand, he is a talented architect in Philadelphia's top design firm. On the other hand, he's also fucking his boss's wife. See what I mean? It's during one of his illicit trysts with Sylvia (Isabelle Huppert), AKA Mrs. Boss, at his fuckpad that she happens to look out Terry's window and see a woman (Elizabeth McGovern) being attacked by a freak with red hair (Carl Lumbly). Sylvia scares off the attacker, and the would-be victim, Denise, is rescued. But now Sylvia has a problem: if she comes forward, everyone will now she was in Terry's apartment when the attack occurred in the middle of the night. And from there, it's just a short jump away to the conclusion that she and Terry were swapping bodily fluids. Enter our boy Terry, who once again demonstrates his capacity to be simultaneously utterly brilliant - and also as dumb as a box of bricks: he tells Sylvia that he will tell the police that HE saw the attack on Denise. And HE will be the one to identify Red-Headed Freak in the police line-up based on Sylvia's description. And HE will be the one who will take the stand at Red-Headed Freak's trial. I think you folks see where this is going. Good luck with that, Terry. Jackass.

THE GIALLO CONNECTION: The premise of an innocent bystander witnessing an attempted murder - then getting pulled into the fray despite his/her's best intentions to stay out of it, was first used in THE BIRD WITH THE CRYSTAL PLUMAGE (1970). Also, the concept of secret lovers witnessing a crime, but unable to come forward to the police for fear of having the affair discovered was also used previously in another Italian Giallo, WHAT HAVE YOU DONE TO SOLANGE? (1972). Finally, THE BEDROOM WINDOW's overall sleek, stylish look echoes the handsome appearance of many Italian Gialli.

TRIVIA: Elizabeth McGovern, who plays this movie's heroine, currently stars on DOWNTON ABBEY as Cora Crowley, Countess of Grantham. And director Curtis Hanson would go on to direct Russell Crowe's star-making film, L.A. CONFIDENTIAL, and Eminem's 8-MILE.


#13. WHITE OF THE EYE (1987)



POSTER TAGLINE: The only difference between a hunter and a killer is his prey...

CAST: David Keith, Cathy Moriarty, Alan Rosenberg, Art Evans, Michael Greene, Alberta Watson.

DIRECTOR: Donald Cammell

IT'S LIKE THIS: With all its endless sunshine and gorgeous vistas, you'd think Tucson, AZ would be a great place to live. Not according to this movie, which shows a vicious killer knocking off the wealthy housewives of a Tucson suburb. Before you know it, sound technician/expert Paul White (David Keith) is being eyed by the local cops as a suspect. Mainly, because he, um, serviced the stereo systems of those households - and may have also, ah, serviced the women, too. This doesn't come as any kind of good news to his wife, Joanna (Cathy Moriarty), who has been acting like the perfect homemaker and mother all this time. Unaware of her husband's hanky-panky. But is Paul really the killer? Or maybe it's their good-for-nothing pal Mike (Alan Rosenberg), whom they haven't seen in ages but has suddenly re-appeared - exactly around the time the murders started. Who could the killer be? Hmmmmmmm....

THE GIALLO CONNECTION: Out of all the films in our AMERICAN GIALLI (both Volumes 1 & 2) WHITE OF THE EYE is one of the most Giallo-like. From beginning to end, this film feels like a Dario Argento movie - from the hypnotic opening credits, to the elaborate suspense setpieces, to the colorful climactic revelation of "whodunit." This movie also uses the "extreme eyeball close-up" Argento used in THE CAT O'NINE TAILS , DEEP RED, and TENEBRE to signify the killer's presence nearby. The constant sunny environment of Tucson also echoes the brightly-lit Gialli of Sergio Martino (TORSO) and Umberto Lenzi (SEVEN BLOOD-STAINED ORCHIDS), which were located in sunny Italian settings.

TRIVIA: This movie has yet to be released on American DVD, despite its large cult following and critical acclaim. Currently, only a VHS version is available (and a PAL-Region DVD)


#14. JACK'S BACK (1988)



POSTER TAGLINE: It's One Hundred Years Later. And He's Back...

CAST: James Spader, Cynthia Gibb, Robert Picardo, Jim Haynie, Chris Mulkey, Danitza Kingsley.

DIRECTOR: Rowdy Herrington

IT'S LIKE THIS: It's 1988, the centennial "anniversary" of the Ripper murders back in London, England, and across the pond in sunny Los Angeles, a series of copycat killings have gripped the city. Now, unless the original Jack The Ripper was some sort of ageless superbeing, and decided to emigrate to Cali, someone is mimicking his crimes down to the smallest detail. When his hooker ex-girlfriend Denise (Danitza Kingsley) becomes a victim, medical student John Wesford (James Spader) gets pulled into the fray. Oh, and to make matters even more interesting, his bad boy twin Rick (also James Spader) gets involved, too. Will the Wesford boys figure out what the hell is going on? Why is the Ripper Copycat after? What will he (she?) do once the fifth and final murder is enacted? Is it just "phase one" of a new killing spree? Or will she (he?) pull a disappearing act like the original killer? Hmmmmmmm......

THE GIALLO CONNECTION: Earlier, we discussed the connections between the Italian Gialli SETTE NOTTE IN NERO (1977) & SOTTO IL VESTITO NIENTE (1985), and the American Giallo THE EYES OF LAURA MARS (1978). All three films share themes about psychic phenomena and the paranormal. JACK'S BACK is another American Giallo that has the same "psychic link" thread - and, like SOTTO IL VESTITO NIENTE, explores the connection between twins. This film also echoes TENEBRE's (1982) "copycat murders" plot thread. The overall style and tone of the film is also more vibrant than your average American thriller, leaning more towards the colorful tone of Italian Gialli.

TRIVIA: A rumor I heard around the time this movie came out was that it was originally supposed to be set in London, England, where the original Ripper murders occurred back in 1888. But then the studio allegedly deemed it more economical to set the film in Los Angeles. The L.A. setting is fine, but planting the story where the original crimes occurred a hundred years ago would have resulted in an even more atmospheric movie. In some ways, it was a missed opportunity.


#15. D.O.A. (1988)



POSTER TAGLINE: You're never more alive than when you’re on the edge of death.

CAST: Dennis Quaid, Meg Ryan, Daniel Stern, Charlotte Rampling, Robin Johnson, Jane Kaczmarek, Robert Knepper, Christopher Neame.

DIRECTOR: Annabel Jankel, Rocky Morton.

IT'S LIKE THIS: There are people who are having a bad day. And then there's Dexter Cornell (Dennis Quaid). Our boy Dex is having to deal with the following issues: (1) he hates his day job as an English professor teaching writing to a bunch of snot-nosed college freshmen who couldn't care less; (2) he has serious writer block and hasn't written a word in years; (3) his wife Gail (Jane Kaczmarek) whom he loves the shit out of, is divorcing him; and last but probably the worst: (4) someone poisoned him with a lethal, slow-acting poison with no known antidote - and he only has 24 hours left to live. See what I mean about Dex's colossal bad day? Anyhow, instead of spending his last day, productively, by writing up a list of people he's always wanted to fuck - and then promptly fucking them one-by-one - our boy Dex decides to just, you know, hunt down the bastard (bitch?) that slipped him the poison. Oh, how boring. Whatever. It's his last day. Let him spend it playing detective with perky co-ed Sydney Fuller (Meg Ryan) superglued to his side. I'm not even kidding. Personally, I'd be knocking on certain people's doors and be all like, "Hi, I'm dying from a slow-acting poison that doesn't affect my sexual prowess. I've got about, oh, 24 hours left. And I've always wanted to bang you six ways from Saturday. Just for 30 minutes, though. Because I have a long list of folks. Thoughts?"

THE GIALLO CONNECTION: As with most of the other entries in our AMERICAN GIALLI section, D.O.A. has a very colorful style and graceful execution to it. There's one section in particular that might as well have been lifted from any of Dario Argento or Mario Bava's films: the setpiece where Dexter peers through a red stained-glass window and glimpses Gail being attacked. He breaks down the doors and runs after Gail and her attacker into the kitchen, where.... well, let's just say it's a very Argento-esque sequence. D.O.A. also features a very intriguing mystery with many twists and turns, as well as quite a satisfying resolution - just like the best of Argento's Gialli.

TRIVIA: This is a remake of a film with the same title from 1950. The original version is more of a dark film noir, though, while this 1988 version is more Giallo-like.



Please expect Volume 2 our AMERICAN GIALLI section to post by this weekend. We will explore 15 more American films from 1990 to 2013 that have been strongly influenced by Italian Gialli. Have a wonderful evening folks. Dinner time! :)

GIALLI SAMPLER, PART FOUR: "WTF? Gialli"

Let's face it, folks: all Gialli are cheesy. Not surprising, since they are Italian flicks. Even the very best of them (the CLASSIC GIALLI and HONORABLE MENION GIALLI sections of our sampler) have a strong Parmesan flavor. Then there's the mid-range Gialli (the vast majority in the middle) that have varying levels of cheesiness, some more so than others.

And then we have the Gialli that go beyond Formaggio Territory - and are genuinely bizarre. These are the films that are far too mediocre to be considered classics or honorable mentions, but are also too weird to be considered middle-of-the-road. This isn't to say that they are all bad (although some truly are) - but they are definitely not going to be hanging out anytime soon with the likes of THE BIRD WITH THE CRYSTAL PLUMAGE, DEEP RED, or BLOOD & BLACK LACE.

Bottom line: the movies in this section of our sampler will undoubtedly have you say the following at least three times during their running time: What. The. Fuck?

As with our other sections from this Sampler, the WTF? GIALLI below are listed chronologically:


#1. PERCHE QUELLE STRANE GOCCE DI SANGUE SUL CORPO DI JENNIFER? (1972)



ENGLISH TITLE: THE CASE OF THE BLOODY IRIS

CAST: Edwige Fenech, Giampiero Albertini, George Hilton, Annabella Incontrera, Paola Quattrini, Franco Agostini, Carla Brait, Gianni Pulone, Oreste Lionello.

DIRECTOR: Giuliano Carnimeo

IT'S LIKE THIS: Just to give you folks an idea of how cheesy and bizarre this flick is, the actual English translation of the original Italian title is not THE CASE OF THE BLOODY IRIS. It is actually: WHAT ARE THOSE STRANGE DROPS OF BLOOD DOING ON JENNIFER'S BODY? Guys, can you imagine asking some girl out on a date and telling her you're going to take her to see a movie with that title? Let's see if you can even make it to first base. No wonder the foreign distributors changed the English title to something that sounds like a fucked-up Sherlock Holmes episode.

Actually, on paper, the synopsis of THE CASE OF THE BLOODY IRIS sounds pretty normal: Jennifer Lansbury & Marilyn Ricci (Edwige Fenech and Paola Quattrini), fashion model buddies, move into a flat in a luxury highrise after the previous tenant is brutally murdered - and soon find themselves the target of the resident killer. Hell, that's pretty much the story of SLIVER, (an American Gialli discussed in the next sampler section) - only without the video cameras and Billy Baldwin's luscious buttocks. Unfortunately, the way this flick actually plays out is most definitely not like SLIVER. More like Jerry Springer, Italian-style….

You see, despite its last-minute reshoots (which changed the story, the ending, and the killer's identity - and therefore compromised the film), SLIVER is an atmospheric, reasonably involving thriller (until that mediocre new ending that plays it safe). THE CASE OF THE BLOODY IRIS, on the other hand, is about as suspenseful as chopping mustard greens. Then there's the truly mondo weirdo characters. Jennifer Lansbury is relatively normal - but has got to be one of the most clueless heroines in Gialli. Edwige Fenech is lovely, but she doesn't have much to play with in the role. And then there's Marilyn Ricci - who Paola Quattrini turns into a seriously obnoxious head case. There's a hilarious scene where another character just finally loses it and straight-up punches her in the face. I think we cheered. Even more so when our resident killer finally jumps her (in a crowded piazza, no less) and does the entire world (and audience) a favor by turning her into fish food.

Then there's the identity of the killer and his (her?) motive - which, if used in a movie today, would seriously piss off the entire LGBT commmunity and anyone who supports Civil Rights.

MOST "WTF?" SCENE: Oh, there's plenty. But the clear winner is the scene where three building residents discover a bloody murder victim in the hallway - but stand there, totally unconcerned, like they just found someone's umbrella: "Hmmmm... that's odd." WTF?

SAVING GRACE: There's a scene at the beginning of the film, where a woman gets into a very crowded elevator. As the elevator rises through the building, the elevator gradually empties out - until only the killer and the woman are left in it. Then the inevitable happens. This scene is Hitchcockian and Argento-esque in its execution, starting from a point of safety - then gradually morphing into a dangerous situation. It's the only suspenseful part of this movie. Unfortunately, the quality of the film goes downhill sharply after this - and there are virtually no other setpieces to match this promising opening sequence.

TRIVIA: Edwige Fenech is sort of a "Giallo Queen" - having also starred in other such Gialli as FIVE DOLLS FOR AN AUGUST MOON (1970), ALL THE COLORS OF THE DARK (1972), and YOUR VICE IS A LOCKED ROOM AND ONLY I HAVE THE KEY (1972). Look, I didn't pick these titles, okay?



# 2. LA DAMA ROSSA UCCIDE SETTE VOLTE (1972)



ENGLISH TITLE: THE RED QUEEN KILLS SEVEN TIMES

CAST: Barbara Bouchet, Udo Pagliai, Marina Malfatti, Marino Mase, Pia Giancaro, Sybil Danning, Rudolf Schundler, Maria Antoinetta Guido, Fabrizio Moresco.

DIRECTOR: Emilio Miraglia

IT'S LIKE THIS: A friend of mine likes to call this movie "The Italian Scooby-Doo Episode." And that is a very apt description. THE RED QUEEN KILLS SEVEN TIMES has a goofy, cartoony feel and entire sequences that play out like part of someone's hilarious acid trip. Oh, and unlike most Gialli that feature killers wearing fedoras, trenchcoats, and black gloves, this flick features a killer wearing a white mask, red flowing cape, and, uh, black gloves. I guess the black gloves are non-negotiables for killers in Gialli, eh?

Anyhow, the craziness gets started in a prologue wherein we learn that the Wildenbrueck family has a curse wherein, every 100 years, "The Red Queen" rises from the dead and kills seven people - the last one being a female Wildenbrueck. Or something. The legend apparently got started centuries ago when an evil sister killed a good sister - and the good sister came back from the dead and killed seven people, the last one being her evil sister. Or something.

At any rate, cut to present-day Germany (which would make it, oh, 1972), where we find luscious dish Kitty Wildenbrueck (Barbara Bouchet) is quite a state. You see, she runs some sort of fashion house and times are very busy indeed. Unfortunately, she also is stressing over her crazy sister, Eva (Maria Antonietta Guido), whom she just, you know, accidentally killed a couple of years ago. Kitty's loyal cousin Fransizka (Marina Malfatti) helped her cover it up - but then a crazy banshee in a white mask, red cape, and black gloves begins knocking off all of Kitty's friends and associates. Is Eva still alive and back to get her sister? Or is it The Red Queen, back from the dead to fulfill a curse. Is it someone else at the fashion house? Or is it... Shaggy and Scooby-Doo gone rogue?

MOST BIZARRE SCENE: Oh, there's a bunch to pick from. But the winner, hands-down, is the scene where Eva's equally crazy boyfriend Peter (Fabrizio Moresco) does something, um, very, very, VERY bad to Kitty in one scene - and then the next time they see each other, she acts like absolutely nothing happened. Altogether now: WTF?

SAVING GRACE: A nicely-executed suspense setpiece involving a would-be victim, the killer, and a runaway van. And, also, the killer's "look" - which is creepy, scary, and stylish at the same time.

TRIVIA: This films appears to have inspired the look of the killer from the underrated 1983 Canadian slasher film, CURTAINS: a female mask with long flowing hair, black bodysuit, and black gloves. Also, the scene in CURTAINS wherein Christy (Lesleh Donaldson) spots the killer skating towards her on the frozen pond is almost an homage to the scene in this movie wherein the killer runs towards Kitty's bed from a long distance away - getting larger and larger and more menacing as she approaches.


#3. LISA E IL DIAVOLO (1974)



ENGLISH TITLE: LISA AND THE DEVIL

CAST: Telly Savalas, Elke Sommer, Alessio Orano, Sylvia Koscina, Alida Valli, Gabriele Tinti, Eduardo Fajardo, Kathy Leone.

DIRECTOR: Mario Bava, Alfredo Leone

IT'S LIKE THIS: German tourist Lisa Reiner (Elke Sommer) is with a tour group in some ancient Spanish city - and finds herself transfixed by a mosaic that shows the Devil looking a lot like... Telly Savalas. Understandably WTFed out of her gourd by this wacky sight, Lisa wanders to a gift shop where she discovers some weirdo named Leandro trying to buy clothes for his dummy. Oh, and Leandro also looks a hell of a lot like Telly Savalas, too. And, just like that, Lisa is double-WTFed out of her gourd. So much so that, she wanders off into a deserted town square where Leandro's dummy comes to life and tries to get freaky with her.

Understandably upset, Lisa flees and tries to find her tour group, which has wisely moved on to Barcelona or something. Eventually, our whacked-out heroine hails a passing car and begs its passengers to give her a lift to somewhere, anywhere, but this stupid ancient city with mosaics with Telly Savalas' face on them, and dummies who try to stick their tongues down German tourists' throats. Happily, the folks agree. They are: (1) Francis Lehar (Eduardo Fajardo), constipated aristocrat; (2) Sophia Lehar (Sylvia Koscina), Francis' understandably sexually-frustrated wife; and (3) George (Gabriele Tinti), the Lehars' chaueffeur is more-than-happy to help Sophia with her sexual frustration problem. Nice crowd you picked to hitch with, Lisa.

Anyhow, Lisa, the Lehars, and George eventually reach a country estate where their car promptly breaks down. They seek shelter in the imposing abode - and discover that it's filled with people even more bizarre than they are: (1) Max (Alessio Orano), some girly-looking dude who acts like he has known Lisa all his life - and looks about as feminine as she does; (2) the Countess (Alida Valli), Max's hopelessly batty mother; and - last, but probably the weirdest: (3) Leandro the Butler, whom, if you recall, was the weirdo in town with the dummy who freaked Lisa out - and, yes, he still looks like Telly Savalas. And then people start dying....

Let me just say that, at this point, the movie goes officially over the edge and become something so fucking strange, you will think someone slipped some exxxtacy into your Heineken. Good luck.

MOST BIZARRE SCENE: Oh, dear Lord, there are dozens... In fact, I'm not sure where one bizarre scene ends, and the next one begins. It's like a 90-minute long video. But if you were to put a Beretta to my head and yell, "Choose, bitch!" - I would have to pick the scene where, um, Max and Lisa get to know each other in a very fucked-up way. Ick.

TRIVIA: Wisely recognizing that this movie would never play in American theatres without people walking out or falling asleep or saying "WTF?" so many times they would drown out the dialogue, the production company decided to shoot a large number of new scenes for the North American release that changed the movie from a supremely weird Supernatural Giallo to a rote Demonic Possession movie. That version is called THE HOUSE OF EXORCISM and was released in the U.S. and Canada. We have only seen a part of it, but were not impressed by what we saw. Compared to the LISA & THE DEVIL version, THE HOUSE OF EXORCISM was pretty humdrum and normal. At least the original Italian version is entertaining in a bat-shit, "what-will-they-do-next?" kind of way.


#4. LA CASA CON LA SCALA NEL BUIO (1983)



ENGLISH TITLE: A BLADE IN THE DARK

CAST: Andrea Occhipinti, Anny Papa, Fabiola Toledo, Michele Soavi, Valeria Cavalli, Stanko Molnar, Lara Lamberti.

DIRECTOR: Lamberto Bava

IT'S LIKE THIS: Oh, what wonders Dario Argento could have done with this movie... The central premise is great: Bruno (Andrea Occhipinti), a film music composer, moves into an isolated villa in Tuscany to work on the score for an upcoming horror movie - only to find himself menaced by a killer and drawn into the mystery of what happened to the villa's mysterious former tenant. Unfortunately, Argento didn't helm this film and as we discussed in our review of the excellent Argento film PHENOMENA in our SUPERNATURAL GIALLO section, execution is everything. And BLADE IN THE DARK is poorly executed.

Director Lamberto Bava comes from Italian cinema royalty, his father being maestro Mario Bava. Bava Sr. directed such Giallo classics as THE GIRL WHO KNEW TOO MUCH and BLOOD & BLACK LACE, and basically pioneered the Giallo template before Argento cemented it and brought it to the attention of the rest of the World. Bava Jr., on the other hand, is most well-known for DEMONS (1985) and DEMONS 2 (1987), which are entertaining but a definite cut below the standards and style of his father and Argento - two Giallo Masters. In BLADE IN THE DARK, Lamberto Bava is so intent on copying them (especially Argento's TENEBRE from the year before), that the whole thing feels stale and false. What should've been a near-classic thriller (perhaps even more) ends up becoming an exercise in tedium and gore.

With Mario Bava and Dario Argento's films, the violence was easy to take because it was presented in such an artful and almost classy way that made it feel less brutal and more avant-garde. Here, it is merely ugly and nasty. The "suspense" setpieces and chase scenes are weakly-staged and almost laughable. They are, quite simply, without flair or energy. Too bad, because there are some promising ideas here that could've generated some real tension and fear. Ultimately, these opportunities are fumbled and BLADE IN THE DARK ends up falling far below the high standards set by Mario Bava and Dario Argento.

MOST BIZARRE SCENE: The flashback to the childhood incident that created the killer's trauma: hilarious and fucked-up in equal measure. Then there's the final revelation of who the killer actually is - trust me, you will laugh.

SAVING GRACE: Well, not really a saving grace, but at least it generates what little suspense this flick has: the hide-and-seek chase scene between Julia (Lara Lamberti) and the killer at the very end. Unfortunately, it's over before you know it. In more ways than one.

TRIVIA: Male lead Andrea Occhipinti would star a year later with Bo Derek in the widely-panned erotic flick, BOLERO. And Valeria Cavalli would go on to star in Dario Argento's LA TERZA MADRE/MOTHER OF TEARS in 2006.


#5. TRAUMA (1993)



ENGLISH TITLE: TRAUMA

CAST: Asia Argento, Christopher Rydell, Piper Laurie, Frederic Forrest, Laura Johnson, Brad Dourif, Jacqueline Kim.

DIRECTOR: Dario Argento

IT'S LIKE THIS: Well, folks, it appears that our man Dario Argento only did three things in his life: (1) eat pasta; (2) sire Asia Argento, and (3) direct Gialli. Regarding # 3, the guy has pretty much been at it since 1970, when his first Giallo (the classic THE BIRD WITH THE CRYSTAL PLUMAGE) was released. And he's still going at it. Given the large number of films he's made, it's inevitable that some of them would miss the mark, despite his talent. One of those misfires is the unfortunate TRAUMA, which could have been a classic Argento Giallo, but because of its incongruous American setting (and other factors), ends up being a mild "WTF?" experience.

TRAUMA revolves around Romanian bulimic teenager, Aura Petrescu (Asia Argento), who lives in Minneapolis, Minnesota. I think it's safe to say that TRAUMA is probably the only Giallo set in Minneapolis. Anyhow, Aura's parents are Stefan and Adriana Petrescu (Dominique Serrand & Piper Laurie), two psychic mediums who routinely have seances in their home. One particular session goes very bad when Adriana unexpectedly connects with the spirit of the latest victim of The Headhunter - a killer who has been terrorizing the Minneapolis area lately. And let's just say he's not called The Headhunter because of his skill in finding and placing talented business executives. Things get even more freaky when the spirit tells Adriana that the killer is "present!" - like some sort of particularly fucked-up roll call from beyond the grave. Before you know it, Adriana freaks out and books it out of there with Stefan in pursuit. Unfortunately, who should show up himself but The Headhunter who promptly, um, hunts their heads. And just like that, Aura is an orphan. But, apparently, a very feisty and spunky one. Aura teams up with David (Christopher Rydell), the television news sketch artist whose wallet she stole (don't ask) - and they team up to find out who The Headhunter is - and why he is, um, hunting heads.

Now, you're probably reading all of that and thinking, "Well, that's not bad..." I agree - it isn't. The problem is the story's location. If Argento had set TRAUMA in Italy and filled it with Italian actors and actresses, the movie might actually be almost as good as most of his other films. Unfortunately, he sets it in the Minneapolis area, which might as well be the Heart of America and three universes away from Bella Italia. Consequently, his baroque, operatic European style clashes very much with the down-to-Earth American environment. The result is a stilted feel to the proceedings which is awkward and off-putting. Too bad, because with its intriguing premise and ultimate resolution, TRAUMA might have been DEEP RED for a new generation - as Argento had hoped during pre-production.

Fortunately, the failure of TRAUMA not only in the U.S., but also in Italy, taught Argento where his real strengths lie: back home in Bella Italia.

MOST BIZARRE SCENE: Hands down, the scene where a severed head tries to whisper a clue to David. You read that right. Here we go again: W. T. F?

TRIVIA: James Spader, John Cusack, and Tim Roth were supposedly considered for the male lead role of David. Also, Bridget Fonda was initially supposed to play the role of Aura's rival Grace Harrington (Laura Johnson), but dropped out. Fonda also dropped out of Argento's next project, THE STENDHAL SYNDROME - which was initially supposed to be set in Phoenix, Arizona, but then the production moved to Florence, Italy when Fonda left it.


Please expect our final section of our GIALLI SAMPLER to post next week: AMERICAN GIALLI. These are the American thrillers and horror films that were strongly influenced by the Italian Gialli – and there’s more of them than you realize….

Have a wonderful week, folks…

GIALLI SAMPLER, PART THREE: "Supernatural Gialli"

There are some Gialli that have mysteries that are, um, not of this realm. And baddies who are, um, not just of your average flesh-and-blood variety. More like your basic fire-and-brimstone-and-lightning-and-thunder variety. I'm well aware that some Gialli fans vehemently declare that the "Classic Giallo Formula" shouldn’t include supernatural elements. My respectful response: Oh-fucking-really? What do you make of PROFONDO ROSSO's "psychic phenomena" Mac-Guffin, Einsteins? Without it, there wouldn't have been a movie. That flick was almost half of a Supernatural Giallo - and it was just, you know, a classic.

Anyhow, a Supernatural Giallo is one that combines the classic elements (foreign leads, labyrinthine mysteries, black-gloved killers, elaborate suspense setpieces) with large, unmistakable heapings of the heebie-jeebies and spooky-ookies. Bottom line: a Giallo with a witch and doors that open by themselves and heroines who have visions of death and dismemberment and can control insects to do their bidding is still a Giallo. Just saying.

As with our other sections from this Sampler, the SUPERNATURAL GIALLI below are listed chronologically:


#1. GLI ORRORI DEL CASTELLO DI NORIMBERGA (1972)



ENGLISH TITLE: BARON BLOOD

CAST: Joseph Cotten, Elke Sommer, Antonio Cantafora, Massimo Girotti, Rada Rassimov, Umberto Raho, Dieter Tressler.

DIRECTOR: Mario Bava

IT'S LIKE THIS: Peter Kleist (Antonio Cantafora) is an American dude who travels to Austria to trace his lineage and get to know the European side of this family tree. He discovers that he is descended from the notorious Baron Otto Von Kleist, who was like an Austrian version of Vlad The Impaler, apparently. Peter finds out that the humongous Kleist castle is being converted by his Uncle Karl (Massimo Girotti) into a hotel - and that during Baron Otto's reign a few hundred years ago, it was the site of some really messed-up murders and tortures. I don't even want to know what kind of people would want to stay in a hotel with a history like that.

Anyhow, to make things even worse, our "hero" Peter decides to impress Uncle Karl's assistant, Eva Arnold (Elke Sommer), by - wait for it - reciting a demonic incantation that, according to local legend, will - once again, wait for it - revive the long-dead Baron Otto Von Bloodthirsty Killer and set him free to be a very bad boy once again. Now, I have seen some stupid plays on the part of stupid men to impress the stupid chicks they have a boner for - but Petey's move takes the cake, folks. Psssst, Pete: you should've just taken the bitch out for a wienerschnitzel and a volksmarch. Jackass.

Before you know it, Peter's crazy-ass ancestor, Baron Otto Von Here I Come Bitches, is back from the dead, terrorizing the countryside surrounding Castle Kleist - and racking up quite the body count. And it's up to Peter, Eva, Uncle Karl and some foxy psychic named Christina Hoffman (Rada Rassimov) to return the Baron to the hole in hell that he crawled out of. But how will they deal with the bigger issue of someone as stupid as Peter Kleist being allowed to walk the Earth and wreak havoc with his infinite idiocy? That, my friends, is the true question. Hmmmmmmm....

WHY IT MAKES THE CUT: After pioneering the Giallo template with THE GIRLWHO KNEW TOO MUCH (1963) and BLOOD AND BLACK LACE (1965), director Mario Bava began to take it in another direction and blend it with the Gothic Horror sub-genre. BARON BLOOD and his truly bizarre 1974 entry, LISA AND THE DEVIL (featured later in our WTF? GIALLI section and also starring Elke Sommer), are good examples of Gialli that combine the traditional sub-genre's usual thriller elements with more obvious horror and supernatural themes.

All of Mario Bava's Gialli - whether good (BLOOD & BLACK LACE, THE GIRL WHO KNEW TOO MUCH) fair (TWITCH OF THE DEATH NERVE), or flawed (LISA & THE DEVIL) - are always thick with atmosphere. BARON BLOOD is no exception. Most critics and fans regard it at the midpoint of the quality scale, and it is often unjustly overshadowed by the more famous films in Bava's body of work, including the very overrated TWITCH OF THE DEATH NERVE.

The fact remains, though, that it is an effective chiller that takes the Giallo into new territory. Especially arresting is the "look" sported by the undead Baron: a riff on the traditional Giallo killer's Fedora and trenchcoat - which have been expanded here to a bolero hat and flowing cape. Watching the shadowy Baron in this get-up as he flits through the foggy village streets and winding corridors of Castle Kleist, stalking Eva and other would-be victims, is a truly creepy sight. Needless to say, BARON BLOOD is a very underrated entry in Mario Bava's oeuvre.

BEST SCENE: The scene where Peter very, very, very unwisely resurrects Baron Blood by reading that incantation. And the various chase scenes in the village and the castle wherein the Baron tears after Eva.

TRIVIA: There was some talk in the late-90s/early-2000's of an American remake of BARON BLOOD, but it appears to have stalled. Too bad, because the idea has real potential.


# 2. SUSPIRIA (1977)



ENGLISH TITLE: SUSPIRIA

CAST: Jessica Harper, Stefania Casini, Joan Bennett, Alida Valli, Barbara Magnolfi, Udo Kier, Eva Axen, Miguel Bose, Flavio Bucci.

DIRECTOR: Dario Argento

IT'S LIKE THIS: Pretty American sweet thang Suzy Banyon (Jessica Harper) has arrived in Germany to attend the famed Tanz Akademie, a ballet school deep in the heart of the Black Forest. Things go south pretty much from the moment she arrives when another student, Pat Hingle (Eva Axen), runs screaming into the rainy night, blowing right past Suzy like she ain't even there. The next morning, Suzy and the other aspiring ballerinas find out that Pat was viciously murdered right after leaving the school. What the fuck spooked Pat so badly that she booked it out of school in the middle of the night? And who killed her?

Then other weird things start to happen, like: maggots raining down from the ceiling, guide dogs attacking their blind owners, the faculty having secret meetings after hours, and the students walking around in really fucked-up outfits. Oh, wait... this movie is set in 1977, so those outfits are supposed to be normal. My bad. Anyhow, soon Suzy finds out from new pal Sara (Stefania Casini) that the Tanz Akademie was founded a century ago by Helena Markos, a chick who was supposedly a bad-ass evil witch. Could the school's dark history have something to do with the scary shit that's taking place in the here and now?

Sara seems to think so. Pretty soon she convinces Suzy to do the Nancy Drew Thang with her - and find out what's what by digging into the school's secrets. Unfortunately, someone else at the school doesn't think too highly of their plan - and sends all of Helena's evil minions after them. Will Suzy and Sara end up like Pat? Or will they survive the dark secrets of the Tanz Akademie? Hmmmmmmmm.....

WHY IT MAKES THE CUT: Dario Argento fans are often divided as to which one of his films is his true masterpiece. The consensus is often split between PROFONDO ROSSO/DEEP RED and SUSPIRIA, which were released within two years of each other in the mid-70s. Personally, I love them both equally - and for different reasons. DEEP RED is a terrific suspense-thriller with a baroque feel and serpentine puzzle that is almost hypnotic and other-worldly. SUSPIRIA is equally engrossing and even more colorful and surreal than DEEP RED, diving deeper into uncharted areas of the supernatural. But SUSPIRIA is also much more of a horror film, with its emphasis on witchcraft and alchemy.

In the end, you can't really compare the two because, despite their superficial similarities, they are as different as night and day. SUSPIRIA is probably a bit more famous than DEEP RED. As has been said before about this film, it's the closest anyone has come to putting a nightmare up on the big screen. Logic isn't paramount here, as things happen in an almost stream-of-consciousness, dream-like way. However, Argento (who co-wrote the screenplay with then-lover Daria Nicolodi) is enough of a storyteller and filmmaker to know that you have to give the audience a lead character that makes sense - even if everything around that person makes very little sense.

Enter Suzy Banyon...

Suzy Banyon is probably Argento's most famous lead character - and actress Jessica Harper plays her with a nice combination of toughness and tentativeness. Had someone less effective been in Harper's place, SUSPIRIA might have collapsed from the sheer weight of its improbabilities. Some folks have posited that Argento's skill at creating a vibrantly menacing atmosphere is what elevates this movie to classic status from potential train wreck. However, I respectfully submit that Argento's stylish command of the visual and aural media would not have been much good without a talented, relatable lead like Jessica Harper. With her as our "eyes and ears" into the story, the bizarre world of SUSPIRIA is believable and vividly real.

Ultimately, whether or not it is better than DEEP RED is a futile question - because SUSPIRIA, like DEEP RED, is a unique experience onto itself.

BEST SCENE: There are many classic setpieces here - but if we had to choose one, it would be Sara's chase scene through the school at night, with all the other students fast asleep. This whole sequence has the suffocating feel of a very bad dream.

TRIVIA: Daria Nicolodi, who co-wrote the script with Argento, has stated several times in interviews that the idea for SUSPIRIA came from her. Apparently, her French grandmother attended a dance school near the French/German border when she a teenager - and the school teachers reportedly taught and practiced Black Magic with certain students after hours. Nicolodi also hoped to play the main part of Suzy Banyon, but reportedly had to drop out when she injured her ankle during ballet practice to prepare for the role. As much as I like Nicolodi, I think she would have been very wrong for the part of Suzy Banyon. She's Italian - and only a genuine "All-American" actress with an "apple pie sweetness/tartness" like Jessica Harper could have made this role work. With Nicolodi as Suzy, the character would've been too European and not have comes across believably as "a stranger in a strange land" - and SUSPIRIA might not have been as effective as it ultimately was.

ADDITIONAL TRIVIA: As of a couple of years ago, the proposed (and controversial) American remake of SUSPIRIA was ready to move forward with director David Gordon Green (ALL THE REAL GIRLS, PINEAPPLE EXPRESS) at the helm. Then legal complications reportedly ensued, and now the project is said to be dead. This has made many SUSPIRIA fans happy, because they don't want to see the original Italian classic be tarnished by a substandard American remake. Dario Argento himself is vehemently opposed to the idea of anyone remaking what many consider his best film - and is happy that the project has stalled. Personally, I don't mind remakes because they often introduce the original film to a new generation, while allowing a different interpretation of the story. However, in the case of SUSPIRIA, it is such a unique and distinctive film that there is no way a remake could ever do justice to the original.


#3. SETTE NOTE IN NERO (1977)



ENGLISH TITLE: THE PSYCHIC

CAST: Jennifer O'Neill, Gianni Garko, Gabriele Ferzetti, Ida Galli, Marc Porel, Jenny Tamburi.

DIRECTOR: Lucio Fulci

IT'S LIKE THIS: Gorgeous American chick Virginia has married a rich Italian dude with the unfortunate name of Francesco Ducci (Gianni Garko). But that doesn't seem to bother our lovely heroine. After all, the dude is loaded. Who cares what his name sounds like in English? Anyhow, Francesco is always flying around Europe on business, and often leaves poor Virginia home by herself. To keep her occupied, he lets her renovate his family's ancient villa deep in the Tuscan countryside. But before you start thinking that Virginia goes the light-hearted Diane Lane route (a la UNDER THE TUSCAN SUN) let me unequivocally clarify matters for you: this ain't that kind of movie, goober. Nope, not even close.

You see, one night, while driving through a tunnel towards the villa, Virginia has a vision. She sees the following things: (1) a room, (2) a shadowy man, (3) a hole in the wall, and (4) a woman being bricked up alive inside the hole. Then, as if that wasn't messed-up enough, Virginia realizes that the room in her vision is one of the rooms in the Ducci (giggle) Villa. And she notices that a section of the wall has been, ahem, recently bricked-up. Acting on instinct, Virginia tears down the bricks - and discovers…. $6,000,000,000,000,000 in cash.

Kidding. She discovers a skeleton - of a woman. It appears that Virginia's vision was accurate: a woman was murdered by an unknown man and bricked-up alive to cover up the crime. But who was the man? And who is the woman? And why was she murdered? What links do the Ducci (ha ha) clan have to the murder? Is Francesco the killer? Or is it his sister, Gloria (Ida Galli)? Or is it the prominent local politician Emilio Rospini (Gabriele Ferzetti)? Or is it someone else? Someone less.... douchey, er, ducci, er, you know what I mean...

Sorry, Francesco. Couldn't resist.


WHY IT MAKES THE CUT: The director of this film is Lucio Fulci, who was known for very gory zombie flicks like ZOMBI (1979), THE GATES OF HELL (1980), and THE BEYOND (1981). Fulci also helmed the very infamous Giallo, THE NEW YORK RIPPER (1982), which is extremely graphic and unrelentingly explicit. I have not seen it and (no disrespect intended to the late Mr. Fulci) have no intention of doing so. As I've mentioned before, I look for suspense, style, and characterization in my Gialli - and THE NEW YORK RIPPER is said to be devoid of these. Instead, it seems to be determined to be as gross as possible and was actually banned in many countries. No, thanks.

However, Fulci shouldn't be judged based on THE NEW YORK RIPPER and his gratuitously violent zombie flicks, alone, because this man was also responsible for one of the most understatedly stylish and well-made Gialli we've ever seen: SETTE NOTE IN NERO - or THE PSYCHIC outside Italy. Quite frankly, it's hard for some of us to reconcile the fact that the same man who directed the notorious THE NEW YORK RIPPER was also responsible for a film that is its polar opposite - classy, well-written, intelligent, and emphasizes suspense and mystery with virtually no blood or gore.

THE PSYCHIC is one of the few Gialli to have an airtight plot that withstands scrutiny. Considering it is technically a Supernatural Giallo, that is even more remarkable. Haphazard, illogical plotting are mainstays of this sub-genre that often elevates style over substance. It is necessary for us to accept that in order to enjoy most Gialli. With this film, however, substance is neck-and-neck with style - and everything makes sense, even the stunning twist in the end.

Italian Gialli pioneered the concept of the "twist ending" way before M. Night Shymalan did in THE SIXTH SENSE, and the twist here is particularly effective because Fulci plays very fair with clues. You start to suspect it about ten minutes before the end - and the suspense comes from knowing if you are right or not. However, the twist is still devastating when it finally reveals itself. Put simply, THE PSYCHIC has an edge-of-your-seat conclusion that is ambiguous, ironic, and somehow very satisfying - all at the same time.

I never cease to be amazed at how skillfully-plotted and assembled this film is - considering the kind of movies Fulci would churn out later on. I can only surmise that, as the late-70s turned into the early-80s, cinematic gore and violence became more and more commercial at the Italian box-office, and Fulci was forced to move away from classy, elegant thrillers like THE PSYCHIC - and turn increasingly to graphic zombie flicks and deplorable films like THE NEW YORK RIPPER. What a shame.

And let me just add that the lovely Jennifer O'Neill, a top supermodel in the late-60s/early-70s before turning to acting, never looked more gorgeous than she did in this flick. Love her. Her touching performance as Virginia plays a key role in making THE PSYCHIC a gripping experience.

BEST SCENE: The ending. Wow. Just... wow.

TRIVIA: Quentin Tarantino is a huge fan of Gialli, and especially of THE PSYCHIC. So much so that he used its distinctive musical theme (a haunting melody of only seven piano notes) in Uma Thurman's hospital escape sequence in KILL BILL VOLUME 1.


#4. PHENOMENA (1985)



ENGLISH TITLE: PHENOMENA

CAST: Jennifer Connelly, Donald Pleasence, Daria Nicolodi, Patrick Bauchau, Dalilla DiLazzaro, Federica Mastroianni, Fiorenza Tessari, Mario Donatone, Fiore Argento.

DIRECTOR: Dario Argento

IT'S LIKE THIS: If there was ever an argument against sending your daughter to a Swiss boarding school, it's this movie. Jennifer Corvino (Jennifer Connelly), has recently arrived at the Richard Wagner International School For Girls - and quickly discovers that the place should really be renamed "the Richard Wagner International School For Bitches." Mainly because: (1) the students are all bitches, and (2) the teachers are all bitches. Oh, and if all that wasn't sucky enough, there's also a serial killer running around nearby, slicing up all these bitches and hiding their bitchy bodies. Hmmm..... well, maybe that last part isn't so bad. At least it keeps the bitch population down.

Pretty much the only person who isn't a bitch (or killing them) is local entomologist Dr. John McGregor (Donald Pleasence). In case you're wondering what an entomologist is, that is someone who studies insects, folks. But John isn't just your average insect expert: he specializes in Forensic Entomology - or in other words, CSI-with-bugs. Lots of them. Yup, seems like Johnny McG has been working with Inspector Geiger (Patrick Bauchau) on that pesky serial killer case - and John has helped Geiger determine time-of-death for several of the victims based on the activity of the insects on their remains. Yuck.

Before long, John strikes up a friendship with Jennifer - whom he meets one night while she is sleepwalking (don't ask). He discovers that she has the power to communicate with insects - and gradually comes to believe Jennifer's special ability just might be the key he needs to track the killer down. But who could the killer be? One of the bitches at the school? Inspector Geiger? Richard Wagner? Someone completely unexpected? And will Jennifer's power over insects protect her and John from the killer? Or is it the killer who needs protecting from them? Hmmmmmmm.....

WHY IT MAKES THE CUT: Quite simply, PHENOMENA is my favorite Dario Argento movie. On paper, the premise of an American schoolgirl using her telepathic connection with insects to battle the serial killer terrorizing her Swiss boarding school sounds absolutely ridiculous. However, as we've discussed in previous reviews, execution is everything. A good idea can be executed poorly, turning it into a weak film. Whereas a silly idea, given the right execution, can actually work and produce a strong movie. PHENOMENA is a perfect example of that. It takes a patently ludicrous idea - and moves forward with conviction and confidence. The result is an atypical Supernatural Giallo that succeeds because it risks a lot.

This film sharply divides Argento fans. Those who love it, love it passionately. Those who hate it, hate it with equal fervor. There's really no point in pointing out why the opposing camp is wrong, because they are entitled to their opinion. What we can say is we like PHENOMENA because of how different it is from anything else Argento has done, while still being undeniably a Dario Argento movie. This film breathes and drips style and atmosphere - and it's completely appropriate that it's set in Switzerland, with that country's chilly ambiance and slightly sinister beauty. The result is a film that, like its close cousin SUSPIRIA, has the feel of a nightmarish fairy tale.

Another reason PHENOMENA rates quite highly in our book is because of something that its detractors often overlook in their haste to lambaste its fantastic plot: the lead characters. Argento's best movies have consistently featured vivid heroes and heroines. Think of the wily-but-naive Sam Dalmas from THE BIRD WITH THE CRYSTAL PLUMAGE, the fire-and-ice combination of Gianna Brezzi and Marc Daly from DEEP RED; the sweet-and-spunky Suzy Banyon in SUSPIRIA, and the social-but-secretive Peter Neal in TENEBRE. PHENOMENA is no exception. Jennifer Corvino and John McGregor have a nice mentor-protege connection that is cemented by their shared status as brilliant outsiders, and their relationship is what gives this movie its emotional backbone. Jennifer Connelly and Donald Pleasence's chemistry goes a long way in selling these characters and their link to one another - and in doing so, they sell the story.

BEST SCENE: The opening killing of the first victim, Vera Brandt (Fiore Argento), a Danish tourist who gets lost in the Swiss countryside. And the long, dialogue-free sequence much later on wherein Jennifer uses a cadaver fly to lead her to the killer's lair.

TRIVIA: In Leonard Maltin's famous annual Movie Guide book, the two highest-rated Dario Argento films are SUSPIRIA and... PHENOMENA. Yes, folks: he rates PHENOMENA just as good as SUSPIRIA - and higher than DEEP RED. Nice to know that Maltin and his staff are part of the pro-PHENOMENA family. : ) Another big fan of this movie is director Tim Burton (BATMAN, BATMAN RETURNS, BEETLEJUICE, EDWARD SCISSORHANDS, SLEEPY HOLLOW). If Hollywood ever does a remake of PHENOMENA (and there have been talks, apparently) I hope Burton directs it.

ADDITIONAL TRIVIA: The costumes of the cast were designed by Giorgio Armani, a close friend of Dario Argento.


#5. SOTTO IL VESTITO NIENTE (1985)



ENGLISH TITLE: NOTHING UNDERNEATH

CAST: Tom Schanley, Renee Simonsen, Donald Pleasence, Nicola Perring, Paolo Tomei, Maria MacDonald, Catherine Noyes, Sonia Raule.

DIRECTOR: Carlo Vanzina

IT'S LIKE THIS: Wyoming park ranger Bob Crane (Tom Schanley) is having a great day - until he suddenly has a vision of his twin sister, Jessica (Nicola Perring), being murdered. Apparently, he and Jessie have shared a telepathic link since they were children - and have often "seen" through each other's "eyes." Which is pretty amazing, because Jessie is currently half a world away in Milan, where she is a top model. Fairly freaked out, Bob calls his sister's hotel in Italy. Getting no answer, he hops on the next Italia-bound flight to find out what's what.

Arriving in Milan, Bob finds out that Jessie has disappeared. He reports her missing to the local police and tells them about his "vision." They all pretty much laugh him off, with the exception of Commisario Danesi (Donald Pleasence), who takes a paternal shine to this goofy American from Bumfuck, Wyoming. Bob and Danesi investigate and soon find out that another model disappeared a month before Jessie did. The model's name is Christina Landolfi (Sonia Raule), and her vanishing may be connected to Jessie's.

What is exactly is going on here? Who can help Bob and Danesi? Jessie's fellow model pals, Margaux and Carrie (Maria MacDonald & Catherine Noyes)? Her other model friend, Barbara (Renee Simonsen)? What about the mysterious Milanese jeweler (Paolo Tomei) who is richer than fuck and was also, uh, fucking Jessie before she disappeared? What secret are these folks sharing between them? And why did Christina disappear in the first place? Hmmmmmmmmm......

WHY IT MAKESTHE CUT: The fashion world is a common setting in many Gialli. We first saw it in Mario Bava's classic Giallo, BLOOD AND BLACK LACE, in 1964. Other entries set in the Haute Couteur universe include THE RED QUEEN KILLS SEVEN TIMES (1972) and THE CASE OF THE BLOODY IRIS (1972), both featured in our WTF? GIALLI section, soon to come. In 1978, the American Giallo THE EYES OF LAURA MARS, starring Faye Dunaway and Tommy Lee Jones, pivoted around a glamorous, talented NYC fashion photographer who shares a psychic link with the killer targeting her social circle. Interestingly, THE EYES OF LAURA MARS, an American thriller influenced by Italian thrillers, is a direct influence on NOTHING UNDERNEATH - an Italian thriller itself. I guess in the Gialli world, everything comes full circle, whether we are dealing with American or Italian entries.

NOTHING UNDERNEATH has all the Gialli elements in place, with a paranormal twist: Bob's psychic connection to his sister, Jessica - who may or may not be dead. The central mystery is a solid one, and director Carlo Vanzina plays fair with the clues, parceling them out one-by-one until it becomes clear exactly what happened. He is careful to keep some cards close to his chest, though - which makes the revelation at the end of the movie surprisingly gripping. And, as appropriate to a thriller set in the Italian fashion world, Vanzina gives the film a sleek, polished look that complements his beautiful cast and locations. He is aided immeasurably by a lush, sweepingly sinister score by Pino Donaggio that gives the production additional class and atmosphere.

Donald Pleasence and Tom Schanley as Bob and Danesi are a solid sleuthing duo. Their pairing recalls the similar mentor-protege relationships between the investigative leads of THE CAT O'NINE TAILS (1971) and PHENOMENA (1985 - released the same year and also starring Pleasence), as well as looking forward to the protagonists of SLEEPLESS (2000). The female members of the cast are all strikingly attractive, not surprising since they are all playing models, and play their various roles competently. However, NOTHING UNDERNEATH belongs to its two male leads, and the paternal rapport they develop. The bond between Bob Crane and Commisario Danesi anchors this movie and gives it some welcome gravity.

BEST SCENES: The fashion show where Margaux walks the runway to the tune of the 80's classic "One Night In Bangkok" - only to get jumped by the killer backstage. Also, the final revelation of exactly what happened to Jessie - and Bob's confrontation with the killer.

TRIVIA: Donald Pleasence filmed this movie back-to-back with PHENOMENA, which filmed on location in Zurich, Switzerland, while NOTHING UNDERNEATH was based in Milan, Italy.

ADDITIONAL TRIVIA: A few years after NOTHING UNDERNEATH was released, female lead Renee Simonsen was reportedly offered the role of Pam Bouvier in the Bond flick LICENCE TO KILL (1989), but turned it down. This is fine with me, because as much as I like Simonsen, no one can top Carey Lowell’s performance as Pam Bouvier.


Please expect Parts 4 & 5 of our Gialli Sampler to post by next weekend – to be followed by the last of the Summer Reviews… Have a wonderful week…

GIALLI SAMPLER, PART 4: “WTF? Gialli”
GIALLI SAMPLER, PART 5: “American Gialli”

Ciao, ciao… Buona Fortuna…

GIALLI SAMPLER, PART TWO: "Honorable Mention Gialli"

These Gialli are the films that came out in the years following THE BIRD WITH THE CRYSTAL PLUMAGE’s massive success in 1970. They are almost as well-regarded as the CLASSIC GIALLI by fans, and are often just as good. However, because they came after the floodgates were opened by those ground-breaking movies, they sit a little lower in the hierarchy. Just a little, though…

As with the CLASSIC GIALLI entries, our HONORABLE MENTION GIALLI are listed chronologically below:

# 1. GIORNATE NERA PER L'ARIETE (1971)



ENGLISH TITLE: THE FIFTH CORD

CAST: Franco Nero, Silvia Monti, Pamela Tiffin, Wolfgang Preiss, Ira Von Furstenberg, Agostina Belli, Edmund Purdom, Guido Alberti, Renato Romano.

DIRECTOR: Luigi Bazzoni

IT'S LIKE THIS: Studmuffin journalist Andreas Bild (FRANCO NERO) finds himself drawn into a series of murders not long after the Christmas holidays. As he follows up various leads, he slowly realizes that the victims were all attendees of the New Year's Eve party that he boogied down at recently. What's even more disturbing is that he knew all the victims in one way or another. Soon, he determines that the killer is framing him for the crimes - and, before you know it, he has become the prime suspect.

Not one to go down without a fight, though, Andreas turns the tables on the killer and digs deep to uncover the common link between the victims – to find out just what the fuck is going on here. And, maybe - just maybe - he might also win back the love of his ex-wife, Helene (Silvia Monti). That is, if the killer doesn't get to her first. Hmmmmmm.....

WHY IT MAKES THE CUT: Quite simply, THE FIFTH CORD is the most beautifully-shot, visually-striking Giallo ever made. Famed cinematographer Vittorio Storaro (who would go on to win an Oscar for his visuals for APOCALYPSE NOW) bathes this movie in such gorgeous light and compositions that you find yourself wanting to hit the pause button to admire certain scenes. Storaro also worked on THE BIRD WITH THE CRYSTAL PLUMAGE, which revved up the Giallo Sub-Genre the year before in 1970. However, as terrific as that landmark Giallo is, it somehow doesn't look as pristine and sleek as THE FIFTH CORD.

I suspect that part of credit for this movie's gorgeous look is director Luigi Bazzoni's stylish command of the camera - which seems to supersedes even that of Dario Argento. I know that this is almost sacrilegious to say. The fact remains, however, that all Gialli from the 1960s/1970s, no matter how high the budget, always seem to have some "grittiness" to their aesthetics. THE FIFTH CORD is the only exception: this film has the modern, ultra-polished look of a movie from the 1990s/2000s. It is really quite remarkable how Storaro and Bazzoni managed this exceedingly sleek look for a film from 1971.

The characters of THE FIFTH CORD are also refreshingly layered and atypical. Franco Nero as Andreas Bild is a dynamic presence. Nero is an early example of the Russell Crowe-type of male lead: masculine, formidable, principled, and doesn't suffer fools gladly. He owns the screen every time he is on it. And when he isn't, you can't wait for him to show up again. Nero was a top star of Italian cinema for decades - and with his potent blend of charisma and talent, it's not hard to see why. Also surprisingly compelling is his tentative relationship with his ex-wife Helene, played with sultry grace by Silvia Monti. Their scenes are well-written and have a ring of authenticity – something that is often missing from the central relationships of many Gialli. All in all, THE FIFTH CORD is a true near-classic.

BEST SCENE: Andreas standing his ground (and standing up for himself) against the cops who think he may be the killer. And the final confrontation between Andreas and the killer at his wife's house – but it doesn’t play out like you think…

TRIVIA: In interviews about this film, Franco Nero says he enjoyed Gialli very much - and wishes he would have starred in more of them after THE FIFTH CORD. Also, Luigi Bazzoni unfortunately never directed another Gialli after this one - which is too bad, because with his stylish "eye" and firm grasp on cinematic thrillertechnique, he might have equaled (or even eclipsed) Dario Argento - the Italian Hitchcock, himself.


# 2. LA TARANTOLA DAL VENTRE NERO (1971)



ENGLISH TITLE: THE BLACK BELLY OF THE TARANTULA


CAST: Giancarlo Giannini, Claudine Auger, Barbara Bouchet, Rosella Falk, Stefania Sandrelli, Barbara Bach, Silvano Tranquili.

DIRECTOR: Paolo Cavara

IT'S LIKE THIS: Inspector Tellini (Giancarlo Giannini) has been assigned a very puzzling case: there have been a series of murders where people are paralyzed by poisoned needle - then are vivisected (read: cut open and gutted) while they are still conscious. Altogether now: yuck. Anyhow, Tellini's sleuthing soon takes him to the doorstep of a shady spa run by the shady Laura (Claudine Auger).

Soon, he finds himself neck-deep in a mystery filled with smuggled drugs, beautiful women, secret sex parties, voyeurism, and even more murders. And then, as if that isn't bad enough, the killer targets his own wife, Anna (Stefania Sandrelli). Just to really liven things up.

What is up with the killer's particularly vicious modus operandi? And what is the common link between all the victims? How will all this end? Does he have a boner for spiders or something? Hmmmmmm…..

WHY IT MAKES THE CUT: Compared to Dario Argento's colorful and labyrinthine Gialli, THE BLACK BELLY OF THE TARANTULA is a more straightforward affair. In fact, it plays with the Gialli template, somewhat. Instead of a foreign tourist or expatriate as the protagonist, the hero here is an Italian cop. This tweak gives the film more of a police procedural feel along the lines of later films like SEVEN and KISS THE GIRLS – two examples of American Gialli (more on them in our AMERICAN GIALLI section later ). Director Paolo Cavara handles everything with a confident hand, and while the film isn't as polished and timelessly sleek as THE FIFTH CORD, it comes close and is miles ahead of the gritty, dated aesthetics of most other Gialli.

The main reason THE BLACK BELLY OF THE TARANTULA makes the list, however, is because of its talented lead, Giancarlo Giannini. Just like Franco Nero and his outspoken journalist hero Andrea Bild in THE FIFTH CORD, Giannini takes ownership of his role and turns Inspector Tellini into a very likable lead we can get behind. Giannini would go on and cross over to Hollywood and star in such hits as MIMIC, HANNIBAL, CASINO ROYALE, and QUANTUM OF SOLACE - proof of his versatility.

BEST SCENE: An extended rooftop chase scene where Tellini runs down a suspect in the killings.

TRIVIA: This film features two Bond Girls: a past Bond Girl, Claudine Auger, from THUNDERBALL(1966) and a future Bond Girl, Barbara Bach, from THE SPY WHO LOVED ME (1977).


#3. SETTE ORCHIDEE MACCHIATE DI ROSSO (1972)



ENGLISH TITLE: SEVEN BLOOD-STAINED ORCHIDS

CAST: Antonio Sabato, Uschi Glas, Pier Paolo Capponi, Rossella Falk, Marina Malfati, Renato Romano, Claudio Gora, Gabriella Giorgello, Petra Schurman.

DIRECTOR: Umberto Lenzi

IT’S LIKE THIS: Lovely Italian chick Giulia (Uschi Glas) is getting ready for her upcoming marriage to her fashion designer fiancée, Mario (Antonio Sabato). Unfortunately, she lets him see her in her wedding dress (which he designed, by the way) before the wedding day – and sure enough, something bad happens. Really bad. As in, someone tries to kill her in her train compartment during a pre-nuptials honeymoon with Mario. Fortunately, Mario and the conductor chase off the baddie, who does a swan dive out the compartment window like he’s Superman or something. But not before wounding our Giulia, though.

Fortunately, Giulia survives. However, to keep an ace up their sleeve that they can play, the cops tell the press that she died – so the killer will think he got away with it and let his guard down. At the hospital, Mario and our lovely survivor Giulia are told by Inspector Vismara (Pier Paolo Capponi) that there have been two murders of other women lately – and at both crime scenes, the killer left a mysterious half-moon locket. And a similar half-moon locket was sent to the funeral home where Giulia’s fake memorial was held. Clearly, she was supposed to be the third victim. But why?

Mario, being your typical macho Italian male, decides to investigate, with Giulia tagging along because, well, what the hell else is she supposed to do? She’s supposed to be laying low and pretending to be dead, remember? And that can get boring. Anyhow, she and Mario soon unearth a common link between her, the two women who were killed, and four other women who have yet to be targeted by the killer: all seven of them stayed at a resort on the Adriatic coast three years ago – the same day a man was killed in a hit-and-run accident.

What is going on here? Why have Giulia and the six other women been targeted? Was one or more of them involved in the accident? Will the killer get to the other four women before Mario and Giulia question them? And how long can Giulia pretend to be dead before the killer catches on – and comes after her again? Hmmmmmmmmm….

WHY IT MAKES THE CUT: Unlike most of the Gialli in our sampler which I watched growing up, I didn’t see SEVEN BLOOD-STAINED ORCHIDS until I was actually already living Italy in back in 2002. I remembered being surprised about how different it was from a lot of its cinematic brethren. Mainly, it’s a lot faster-paced. While Gialli, as a general rule, are not exactly slow and draggy, most of them still often like to take a little time setting up the story and characters in a way that feels leisurely. I suppose this is part of their Italian charm.

SEVEN BLOOD-STAINED ORCHIDS, however, moves like a bullet and is one zippy, efficient little thriller. I had to watch it a couple more times after that first viewing to get used to it its all-business, cut-to-the-chase, no-nonsense approach to telling its story – which seems more American than Italian. Once I did, I realized what a nicely atypical addition it is to the Giallo sub-genre. It may not be as flamboyant or colorful as others of its ilk, but it definitely hold your attention and keeps you wondering what will happen next. Italian heartthrob Antonio Sabato and German actress Uschi Glas make a great-looking couple, and their characters, Mario & Giulia, form a solid investigative team.

An added plus is the intriguing mystery at the heart of the story, which comes together quickly, but still manages to save its most surprising twists for the last twenty minutes. Speaking of the third act, this movie has one of the best climactic chase scenes of all Gialli – and a final battle between hero, heroine, and killer that is the textbook definition of suspense.

BEST SCENE: That final chase scene – and the ensuing “manni e manni” in a darkened swimming pool.

TRIVIA: Italian star Antonio Sabato is the father of Italian-American GENERAL HOSPITAL star and Calvin Klein model, Antonio Sabato, Jr.



#4. IL CORPI PRESENTANO TRACCE DI VIOLENZA CARNALE (1973)




ENGLISH TITLE: TORSO

CAST: Suzy Kendall, Tina Aumont, Luc Merenda, John Richardson, Roberto Bisacco, Angela Covello, Carla Brait, Patrizia Auditori, Conchita Airoldi, Ernesto Colli.

DIRECTOR: Sergio Martino

IT’S LIKE THIS: If today were 1973, and you were planning to do the tourist thing in Perugia, this movie would probably change your mind. Because there is a killer stalking the streets, you see, and he ain’t lookin’ for Italian chocolate, know what I’m sayin’? Nope, our baddie likes to slice and dice beautiful coeds from the local international university. The shit first hits the fan when hot German chick Florence Heineken (Patrizia Auditori) and her Italian boyfriend Giovanni (Fausto Di Bella) both get filleted somethin’ fierce while making out under a bridge. Should’ve just gotten a room, dipshits.

Next to bite it – hard - is American student Carol Petersen (Conchita Airoldi), who decides that going for a walk, completelely stoned & alone, through the dark, foggy woods is the safest way to relax when your best friend and her boy-toy have just been gutted the day before. I don’t have to tell you that another student body spot opens up at that school before too long. Stupid, stupid cow.

Shaken by the deaths of their friends, Italian good girl Dani (Tina Aumont) and sassy American girl Jane (Suzy Kendall) decide to round up their lesbian buddies, African chick Ursula (Carla Brait) & Spanish dish Katia (Angela Covello), and jump on the next train to Dani’s uncle’s gorgeous villa deep in the Italian countryside. Seems like it would make sense, right? I mean, a killer is loose in the city, so you get the fuck out of the city, si? No, signore. Wrong-0. You see, our not-so-friendly killer has also jumped on the same train - and tailed our quartet of hot college chicks to the isolated villa where, I’m guessing, he’s not going to ask them to play a nice, harmless round of Monopoly.

So... who is the killer? The handsome British professor, Franz (John Richardson), who has a crush on Jane? The creepy Italian freak, Stefano (Roberto Bisacco), who has been stalking, er, courting Dani? The mysterious Spanish dude, Roberto (Luc Merenda), who always seems to show up just when someone gets killed? One of Ursula and Katia’s boyfriends? Oh, wait... that’s right - they’re lesbians. Hmmmmmmmm.....

WHY IT MAKES THE CUT: Of all the early 70s Gialli, TORSO is one of the more straightforward ones. While most of the trademark Giallo elements are here (the foreign protagonists, the black-gloved killer, the elaborate suspense setpieces), the overall mystery surrounding them is a fairly uncomplicated one. Another departure from the formula is the fact that our heroines Dani and Jane don’t really do much sleuthing. They simply fret about the murders decimating their friends around them - before deciding to take a vacation to that isolated villa, where the killer terrorizes them, along with Ursula and Katia. Even with these tweaks, though, TORSO is still an engaging ride because of its well-drawn leads and their colorful supporting cast.

However, the primary reason TORSO gets an honorable mention is because of a bravura sequence towards the end of the movie, wherein the sole surviving lady (not telling who) must creep quietly around the huge Villa to keep the killer from realizing that he has overlooked someone – and that there is someone still alive inside the house. This setpiece alone is reason enough to see TORSO. Gialli setpieces are often intrinsically Italian in nature: colorful, daring, and full of flair. This one, however, is muted and subtle – relying more on silent suspense and dread than loud shocks or action. We are on the edge of our seats as our “Final Girl” must play a terrifyingly quiet game of cat-and-mouse with the baddie – to avoid ending up like her friends. Great sequence that both Argento (and Hitchcock) would be proud of.

TRIVIA: The original Italian title’s translation into English is actually: THE BODIES BEAR TRACES OF CARNAL VIOLENCE. But the foreign distributors decided to just title the film TORSO outside Italy. The actual translation would have been striking as a title, but also probably a little controversial. Which is a shame, since much of the violence in this film is merely implied. Thank goodness – because unlike a lot of Gialli fans, I am fine with minimal red stuff. I prefer solid suspense – and TORSO has that, especially in that awesome final setpiece.

ADDITIONAL TRIVIA: Suzy Kendall, who plays one of our two heroines in TORSO, was also the female lead in the landmark Giallo that launched the whole craze three years before in 1970: Dario Argento’s classic, THE BIRD WITH THE CRYSTAL PLUMAGE. She also had a cameo role in BERBERIAN SOUND STUDIO, the recent tribute/homage to Gialli. Go, girl.


#5. TENEBRE (1982)



ENGLISH TITLE: UNSANE

CAST: Anthony Franciosa, John Saxon, Daria Nicolodi, John Steiner, Giuliano Gemma, Veronica Lario, Mirella D’Angelo, Christian Borromeo, Carola Stagnaro, Lara Wendel, Mirella Banti.

DIRECTOR: Dario Argento

IT’S LIKE THIS: Best-selling novelist Peter Neal (Anthony Franciosa) is having an interesting year. On one hand, his latest thriller novel, “Tenebre”, is topping the charts. On the other hand, though, he is having a messy break-up with his gal pal, Jane McKerrow (Veronica Lario). Then to make matters even more, uh, interesting he goes to Rome as part of an overseas publicity tour to promote “Tenebre” – only to discover from the local Italian cops that someone has been killing folks in the exact same way the characters in “Tenebre” were killed.

Before you know it, what should have been a laid-back press junket in Bella Italia turns nasty when the killer begins phoning Peter and threatening not only him, but also those around him. Soon, Peter’s friends and associates start turning up dead. True to mystery-writer form, he decides to help the cops investigate – and find out who is behind the whole fucked-up thing. Even worse, he starts to suspect the killer is actually somoene within his social circle...

And let’s just say that there is no shortage of suspects. Is it Anne (Daria Nicolodi), Peter’s loyal secretary? Or Bulmer (John Saxon), Peter’s whackjob agent with a huge boner for Fedoras (ahem)? Or maybe Gianni (Christian Borromeo), the eager-beaver intern who adores and idolizes Peter? Or perhaps even Tilde (Mirella D’Angelo), Peter’s lesbian protégé who objects against the violence and perceived misogyny in his books? Or maybe it’s just been Jane, that crazed banshee ex-girlfriend, this whole time? Who is the nutjob taking the plot of “Tenebre” one step too far?

One word, folks: hhhmmmmmmmmmmmm…..

WHY IT MAKES THE CUT: After the massive success of PROFONDO ROSSO/DEEP RED in 1975, Dario Argento (AKA: The Italian Hitchcock) decided to explore a different area of the Horror and Thriller Genres. His next two films, SUSPIRIA (1977) & INFERNO (1980), took the typical Giallo template (a foreign protagonist, a sinister mystery, vicious murders, stylish execution) and grafted them onto plots that had overtly paranormal and supernatural leanings. He was already showing this proclivity for the unexplained in DEEP RED, with its central premise of a psychic medium who detects a mad killer in the audience during a parapsychology conference – and is killed because of it. The rest of DEEP RED also had glimmers of the supernatural with its “haunted house” plot thread. Ultimately, though, DEEP RED's central mystery was rooted primarily in the natural and normal - and not the supernatural and paranormal, which were more like sub-plots.

With SUSPIRIA and INFERNO, though, Argento dove completely into the unexplained. These two films comprised the first two installments of "The Three Mothers Trilogy" - a triad of Supernatural Gialli that would be completed with the long-awaited LA TERZA MADRE/MOTHER OF TEARS in 2006. Back in 1980, though, following the release of INFERNO, Argento fans expected him to complete the trilogy with his next film, which was announced to be released in 1982, and rumored to be titled TENEBRE.

It turned out, however, that Argento was leaving the supernatural behind and returning to the traditional Giallo formula along the lines of THE BIRD WITH THE CRYSTAL PLUMAGE: a mad killer on the loose and an innocent protagonist who is pulled into the fray. Argento also brought a new to look to TENEBRE that had not been seen in his oeuvre until that point: a sleek, stark, bright look that felt more "Los Angeles" than "Rome."

Indeed, the plot for TENEBRE was inspired when a deranged fan began stalking Argento while on a press tour in California. TENEBRE's look and feel echoes this: gone are the deep reds and brooding blacks of Argento's previous Gialli that painted a more operatic and baroque Italian atmosphere. In TENEBRE, they are replaced by bright whites, silvers, light blues, and golds that seem more American. This movie has an almost clinical and futuristic feel to it - completely appropriate to a story that seeks to expand and evolve the Giallo formula.

While TENEBRE is not as good as THE BIRD WITH THE CRYSTAL PLUMAGE or DEEP RED, it is still a strong Giallo and a unique Argento entry. Interestingly, it is also the film from his entire body of work that we feel is most suited for an American remake. I feels very "American," featuring a more linear but no less engrossing mystery - with a final twist that, like THE BIRD WITH THE CRYSTAL PLUMAGE, is brilliant and unforeseeable. With all the recent talk of remaking SUSPIRIA and DEEP RED, we would like to humbly propose to the powers-that-be in Hollywood that TENEBRE be considered for the same treatment. The original Italian version is fine - but it would be great to see an American interpretation.

BEST SCENES: The killer attacking Tilde and Marion (Mirella Banti) at their sprawling home. And the extended chase sequence between Maria (Lara Wendel), the killer, and a unstoppable Doberman Pinscher - you'll see. And, of course, the last five minutes with that humdinger of a twist.

TRIVIA: This movie uses a Sherlock Holmes quote that would also be used 11 years later in the 1993 Sean Connery thriller RISING SUN: "Once you have eliminated the impossible, whatever remains, however improbable, must be the truth..." Peter Neal quotes this to Inspector Germani (Giuliano Gemma) when they discuss who the killer might be. And let's just say that the quote is very much apropos to the solution of this mystery. Ahem.

ADDITIONAL TRIVIA: the word "tenebre" is latin for "shadows" or "darkness" - which is ironic considering this films is probably Dario Argento's most (intentionally) over-lit film.


Please expect Parts 3-5 of our GIALLI SAMPLER to post throughout the next week:

PART 3: SUPERNATURAL GIALLI

PART 4: WTF? GIALLI

PART 5: AMERICAN GIALLI

Have a wonderful weekend, folks....

Viva Italia!